I came into this documentary with open arms as a previous critic here had left a glowing review. I love ballet. In another life, I would have pursued it as a profession. It makes a great foundation for the documentaries of late. Classical music combined with top-notch cinematography and beautiful movements--think David Gelb of "Jiro Dreams of Sushi."But this gave us all of that with no story. The audience barely gets any background. Justin Peck is set to choreograph a new ballet for the New York City Ballet. The ballet's name and substance is mysteriously hidden from the viewer. The dancers and outside collaborators also remain anonymous. I had a difficult time remaining engaged. While the dancers move beautifully and the process of creating itself so intriguing, without any commentary from the "characters" in this lack of "story," I was left bored and unfulfilled. I suggest watching it during some downtime or while doing chores, because there are moments that you cannot help but watch. But others, less worthy, are left, perplexingly, uncut. We stare for what seems likes minutes on end at the minutely expressive faces while they look on at the real action to see.

Lipes, the director, comes through as Wiseman's disciple; this may seem obvious. Yet some choices, and especially something everyone notices, that is the absence of talking heads, something that Wiseman obliquely put in his Opera Garnier doc, make Lipes come through as more demanding through Ballet 422's elisions.Peck, a corps de ballet speck in the illustrious New York City Ballet, gets a commission for a brand new choreography put to music of his own choice (why in the beginning we are only informed that this is music "from 1935" and not its title or composer, is a sour irony when the end comes)in just two months.So, the documentary unrolls in a drama-less manner, since the corps de ballet, its top three dancers, the costume designer, the pianist - all pros included, are professional enough to pull it through just in time, with no bursts of tension.I wondered by the time Paz de la Jolla, the choreographed piece, came to its premiere in the film, why the director decided then to put on a show, though wonderfully edited, of the choreographer's first steps and trying inspirations, to the more collaborative efforts and mounting - costumes! lights! - spectacle, for just some quick, somehow unredeemed glances.And this is the sobering truth: after the premiere, the bows and the flowers, the quick, chill thrill and the relief all was well, Peck goes backstage to change into his costume for the next piece in the program, now as a low in the NYCB's ranks corps dancer. The film concludes with a long take of a panoramic view of the MET where all that took place, with an almost cruelly extended portion of the next piece's music; and here the irony is manifold: Shostakovich's Piano Concerto no 2, whose andante we hear, was at once one of his most popular pieces, and one discarded as unusually cheerful and easy, even by himself in a deprecating manner, just to preempt any anti-proletariat criticisms.How can one, after the stress of creation and premiere, slip into the shoes of a serial, by the numbers - now the title shines in a new light - dancer just right afterwards? This is a tough world, yes. But the film also passes, for its seeming genre, subtly and surprisingly an argument for the working classes that is itself sobering, even grim, yet ultimately artistic.

From first rehearsal to world premiere, BALLET 422 takes us backstage at New York City Ballet as Justin Peck, a young up-and-coming choreographer, crafts a new work. BALLET 422 illuminates the process behind the creation of a single ballet within the ongoing cycle of work at one of the world's great ballet companies.New York City Ballet, under the artistic direction of Ballet Master in Chief Peter Martins, boasts a roster of more than 90 elite dancers and a repertory of works by many of the greatest choreographers in the history of the art form. When 25-year-old NYCB dancer Justin Peck begins to emerge as a promising young choreographer, he is commissioned to create a new ballet for the Company's 2013 Winter Season. With unprecedented access to an elite world, the film follows Peck as he collaborates with musicians, lighting designers, costume designers and his fellow dancers to create Paz de la Jolla, NYCB's 422nd new ballet. BALLET 422 is an unembellished vérité portrait of a process that has never before been documented at New York City Ballet in its entirety.

I just saw this film at Filmlinc (Feb 6, 2015). Let's just say that Jody Lee Lipes is no Frederick Wiseman. The film just not have the length of a Wiseman film (Ballet 422 is 72 minutes; Wiseman films run 3-4 hours). Wiseman usually spends at least 3 months with his subjects. Lipes explained he really knows nothing about ballet (though he is married to Ellen Barr, a former NYCB soloist and current head of their media operations). I think it really helps if you are (and have been) a NYCB frequent viewer. I was able to identify most of the dancers (even the corps). Albert Evans (who helps Peck) is a former NYCB principal and current ballet master. He is obviously in charge of Peck's work (in that he could set it on new dancers or another company). The person who talked to Justin about talking to the orchestra in Cameron Grant, a company pianist who both plays for rehearsals and class but also performances (Pictures At An Exhibition).When I see a a Wiseman film I feel I really understand the institution he is portraying. Here, I didn't really feel I had any better understanding of the choreographic process. How did Justin pick this music? How did he pick the dancers? What were the money constraints? What was Peter's role (you know he had one)? There were also a few things I really didn't like. One was Lipes showing Justin complaining to Albert about Amar Ramasar, one of his leads. Amar seems like a relaxed, good guy, but no dancer wants to be called out like that on camera. The other was Lipes final shot, which was of Concerto DSCH (which Justin is preparing to dance) with Bizet's Symphony in C (NOT its music) playing over the visuals. We only get about 2 minutes of what Paz DE la Jolla looked like on stage. That was really a letdown and something a Wiseman would never do. I mean, the whole film is about the creation of Paz and then show only 2 minutes? And end with Ratmansky's masterpiece? What a letdown. And if Lipes knew more about ballet, maybe he'd have realized a bit more what it means to end with another choreographer's work.Anyway, I enjoy everything ballet and really like film, too. This is not a great film but if you like NYCB (and new work) this is a must see. If not, may be a pass.